As more or less action must necessarily accompany the words of every speaker who delivers his sentiments in earnest, as they ought to be to move and persuade, it is of the utmost importance to him that that action be appropriate and natural—never forced and awkward, but easy and graceful, except where the nature of the subject requires it to be bold and vehement. If argument were necessary to enforce the importance of cultivation in gesticulation, one sufficiently cogent might be drawn from the graceful skill and power displayed in this art by the best actors on the stage. No truth is clearer than that their excellence in this is due to their own industry.

But, in applying art to the aid of Oratory, and especially in copying the gesture of those who excel in it, great caution is to be observed. No true orator can be formed after any model. He that copies or borrows from any one, should be careful in the first place, not to copy his peculiarities or defects: and whatever is copied, should be so completely brought under command, by long practice, as to appear perfectly natural. Art should never be allowed to put any restraint upon nature; but should be so completely refined and subdued as to appear to be the work of nature herself; for whenever art is allowed to supersede nature, it is immediately detected, shows affectation, and is sure to disgust, rather than please and impress, the hearer.

In general terms, force and grace may be considered the leading qualities of good action. In pleasing emotions the eye of the speaker follows the gesture, but in negative expressions the head is averted. The stroke of the hand terminates on the emphatic word. Be careful not to "saw the air" with the hands, but to move them in graceful curved lines. They should move steadily, and rest on the emphatic word, returning to the side after the emotion is expressed that called them into action.

The following positions and directions are as good as any, that can be expressed in a small compass, and they are given here for practice. One caution must be noted, which is, that excess of action is nearly as detrimental in oratory as no action. It becomes the speaker, therefore, in this, as well as in everything else, that pertains to elocution and oratory, to avoid extremes.

I. POSITION OF THE HAND.

1. Supine; open hand, fingers relaxed, palm upward; used in appeal, entreaty, in expressing light, joyous emotions, etc.

2. Prone; open hand, palm downward; used in negative expressions, etc.

3. Vertical; open hand, palm outward; for repelling, warding off, etc.

4. Clenched; hand tightly closed; used in defiance, courage, threatening, etc.

5 Pointing; prone hand, loosely closed, with index finger extended; used in pointing out, designating, etc.

II. DIRECTION.

1. Front; the hand descending below the hip, extending horizontally, or ascending to a level or above the head, at right angles with the speaker's body.

2. Oblique; at an angle of forty-five degrees from the speaker's body.

3. Extended; direct from the speaker's side.

4. Backward; reversely corresponding to the oblique.

ABBREVIATIONS.

R. H. S. Right Hand Supine.

R. H. P. Right Hand Prone.

R. H. V. Right Hand Vertical.

B. H. S. Both Hands Supine.

B. H. P. Both Hands Prone.

B. H. V. Both Hands Vertical.

D. f. Descending Front.

H. f. Horizontal Front.

A. f. Ascending Front.

D. o. Descending Oblique.

H. o. Horizontal Oblique.

A. o. Ascending Oblique.

D. e. Descending Extended.

H. e. Horizontal Extended.

A. e. Ascending Extended.

D. b. Descending Backward.

H. b. Horizontal Backward.

A. b. Ascending Backward.

DIRECTIONS.

The dotted words indicate where the hand is to be raised in preparation.

The gesture is made upon the words in capitals.

The hand drops upon the italicized word or syllable following the word in capitals. If italicized words precede the word in capitals, it indicates that the hand is to follow the line of gesture.

The following examples have appeared in several works on Elocution—"The
New York Speaker," "Reading and Elocution," etc.

R. H. S.

D.f. This sentiment I* will* maintain* " with the last breath of LIFE.

H.f. I* appeal* " to YOU, sir, for your de cis ion.

A.f. I* appeal* " to the great Searcher of HEARTS for the truth of what I ut ter.

D. o. Of* all* mistakes* " NONE are so fa tal as those which we incur through prejudice.

H. o. Truth*, honour*, " JUS tice were his mo tives.

A. o. Fix* your* eye* " on the prize of a truly NO ble am- bi tion.

D. e. AWAY* " with an idea so absurd!

H. e. The* breeze* of* morning* " wafted IN cense on the air.

A. e. In dreams thro'* camp* and* court* he* bore* " the trophies of a CON queror.

D. b. AWAY* " with an idea so abhorrent to humanity!

H. b. Search* the* records* of* the* remotest* an TI quity for a _par_allel to this.

A. b. Then* rang* their proud HURRAH!

R. H. P.

D. f. Put* DOWN " the unworthy feeling!

H. f. Re* STRAIN the unhallowed pro pen sity.

D. o. Let every one who* would* merit* the* Christian* name* " re PRESS " such a feeling.

H. o. I* charge* you* as* men* and* as* Christians* " to lay a re STRAINT on all such dispo si tions!

A. o. Ye* gods* " with HOLD your ven geance!

D. e. The* hand* of* affection* " shall smooth the TURF for your last pil low!

H. e. The* cloud* of* adver* " sity threw its gloom over all his PROS pects.

A. e. So* darkly* glooms* yon* thunder* cloud* that* swathes* " as with a purple SHROUD Benledi's distant hill.

R. H. V.

H. f. Arise!* meet* " and re PEL your foe!

A. f. For* BID it, Almighty God!

H. o. He generously extended* the* arm* of* power* " to ward OFF the blow.

A. o. May* Heaven* a VERT the cal am ity!

H. e. Out* of* my* SIGHT, " thou serpent!

H. b. Thou* tempting* fiend,* a VAUNT!

B. H. S.

D. f. All personal feeling he* de* POS ited on the al tar of his country's good.

H. f. Listen,* I* im PLORE you, to the voice of rea son!

A. f. HAIL, universal Lord!

D. o. Every* personal* advantage* " he sur REN dered to the common good.

H. o. WELCOME!* once more to your early home!

A. o. HAIL! holy Light!

D. e. I* utterly* re NOUNCE " all the supposed advantages of such a station.

H. e. They* yet* slept* " in the wide a BYSS of possi bil ity.

A. e. Joy,* joy* " for EVER.

B. H. P.

D. f. Lie* LIGHT ly on him, earth—his step was light on thee.

H. f. Now* all* the* blessings* of* a* glad* father* LIGHT on thee!

A. f. Blessed* be* Thy* NAME, O Lord Most High.

D. o. We* are* in* Thy* sight* " but as the worms of the DUST!

H. o. May* the* grace* of* God* " abide with you for EVER.

A. o. And* let* the* triple* rainbow* rest* " o'er all the mountain TOPS.

D. e. Here* let* the* tumults* of* passion* " forever CEASE!

H. e. Spread* wide a ROUND the heaven-breathing calm!

A. e. Heaven* " opened WIDE her ever-during gates.

B. H. V.

H. f. HENCE*, hideous spectre!

A. f. AVERT*, O God, the frown of Thy indignation!

H. o. Far* from* OUR hearts be so inhuman a feeling.

A. o. Let* me* not* " NAME it to you, ye chaste stars!

H. e. And* if* the* night* have* gathered* aught* of* evil* or* concealed*, dis PERSE it.

A. e. Melt* and* dis* PEL, ye spectre doubts!

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